Freedom and Music Blue in Green - Jazz Improvisation by Miles Davis Played by: Molly E. Holzschlag
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Game I Core Wave: "The primary distinction between inside and outside." |
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Blue in Green is one of the most simultaneously sad and glorious pieces of music I have ever heard. Jazz is sometimes difficult for me to access,
Deeper It is both astonishing and logical that certain artists can spontaneously express what is a perfect mathematical expression. In its clinical form, it appears as a specific pattern of numbers, while in its sublime form--a blueprint of emotion capable of moving hearts to tears and spirits to soaring. It is through exercises such as Miles Davis' Blue in Green that I am convinced science (math), music, and emotion are the same thing--suggesting no separation between mind (perceived as esoteric) and body (embodiment of the empiric).
-- Molly E. Holzschlag
Follow Ups Quote from Frank Zappa: "Jazz isn't dead. It just smells funny." When is music inside and when is it outside? In the lexicon of music, the inside player is the one who sticks with a melody that follows a traditional scale. The outside player is the one whose dissonance outside of the scale creates its own melody. Zappa was particularly effective in many of his compositions when playing outside of the scale. Miles Davis did much of the same, especially with Bitches Brew when rhtymic variations also set the tonal quality of being "outside" the center of the piece. Yet why is it that many of these pieces and artists remain "inaccessable" to many listeners? To appreciate the condition of being outside, does one need to have a dissociative experience in their life? Or is it that as we grew we developed diminished egos and thereby we lost the great mediator between the id and super ego?
For didn't Hesse express these great variations in which he and his
characters vacillated between the inside, as in self absorbtion and
preoccupation, and the outside, or hedonistic pleasure seeking in which
our inhibitions were lost and we cared not for moral strictures?
Steppenwolf jumping through the door that led him to homoerotic pleasure
despite his firm belief he couldn't possibly engage in such activity?
How did he step outside himself, Steppenwolf that is? Was he
prompted by the effects of others around him and the music and jazz he
heard? Or was it ultimately the narcotic cocktail that provided
the requisite destruction of his self-imposed boundaries between
that which he thought was inside and what he knew was outside?
The Skin of Music - Played by "Ms. Noa Guy" It was definately the jazz. --Erik J. Lundquist in response to Richard with the following picture.
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